Renato D’Agostin, Photographer

Renato D'Agostin was born and raised in Venice, Italy, "where for most people photography in those days meant weddings and passport pictures," he says. Yet the city did manage to nurture his future career, if only inadvertently so: After falling in love with a photograph of an elephant that his mother won in a town prize drawing, he commandeered his father's Nikon, signed up for a local photography class, and spent his teenage years documenting scenes from everyday Venetian life, a process he's hewed towards ever since. Still, he considers his first foray away from home in 2002, on a road trip through the capitals of Western Europe, to be his most formative experience. "I took that trip to see if interpreting reality was what I really wanted to do," D'Agostin recalls. "From that moment on, I never had any doubt. I felt like traveling was the place where I wanted to live, and the camera was my extension."
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George Nelson’s Kirkpatrick House on WHY

It’s hard to say, looking at the image above —with its freestanding kiln-like fireplace, its red-palette Persian rug, and its chic indoor garden — whether the interior featured is genuinely vintage or simply one of the excellent contemporary facsimiles that populate board after Pinterest board these days. But in some ways, that’s precisely the point. The interior above, featured this week on Herman Miller’s excellent WHY blog, was designed in the 1950s by George Nelson, and like many of Nelson’s designs, it is as usable and contemporary today as it was half a century ago.
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Week of November 18, 2013

A weekly Saturday recap to share with you our favorite links, discoveries, and events from the past seven or so days. This week: a cement-truck mural, a furniture collection about shark-hunting, a pretty way to empty your pockets, and more.
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Material Material, by Doug Johnston & Debbie Carlos

The practice of two artists collaborating by mail is nothing new; after all, that’s how Peter Shire communicated ideas to his Memphis colleagues back in 1980s Milan and how Alex Segreti and Kelly Rakowski of New Friends got their start (with the former in Philly and the latter in New York.) But what happens when you elevate that practice to something more like a parlor game? We here at Sight Unseen had been wondering that ourselves, which is why we were especially tickled when we found out that Debbie Carlos and Doug Johnston — two of our favorites — had recently happened upon the exact same idea.
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A Drawn Interview with Mieke Meijer

If you read Sight Unseen often enough, you know that we're supporters of all things creative, collaborative, and multidisciplinary. Matylda Krzykowski may be known for her curating talents (which we've featured here once or twice before), but she's also a designer and a blogger — in other words, she's someone who gets as few hours of sleep each week as we do. Being such a like-minded individual, we invited Krzykowski to contribute a guest post for Sight Unseen in a format similar to the one she employs on her own site, Mat and Me: Interviews that invite personalities from the design world to respond to questions with small, charming pencil drawings rather than mere spoken words. She in turn posed the challenge to Mieke Meijer, an Eindhoven-based product designer who recently contributed to the first in a series of projects at the new Depot Basel space, an open-ended design workshop in an old Swiss grain silo for which Krzykowski sits on the curation board. We'd been following Meijer's work ourselves ever since we spotted her Gravel Plant project in Milan last year, which channels the geometries of industrial buildings into a system of storage modules whose functions are as myriad as their randomized profiles. Posted here is a selection of the drawings she submitted, plus photos that Krzykowski shot while visiting her studio last month.
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Kiosk in Athens, Greece

There were several reasons Alisa Grifo wanted to take her Kiosk co-founder Marco Romeny to Greece for their newest themed collection of everyday objects, which launches today. But the most pressing was the fact that Greece's ongoing economic woes have shuttered scores of small businesses, and continue to do so the longer they persist. "It felt like half of Athens was closed," says Grifo, who traveled there with Romeny in early October. "We would find something and try to contact the manufacturer and their phone would be disconnected. We felt an urgency to go now before more and more disappeared." The irony is that Greece is also the last collection for the couple before they're forced to pull their own disappearing act of sorts, thanks to economics of an entirely different kind.
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Adi Goodrich, Set Designer

Instead of making things as a way to survive obsolescence, the physical remainders that will outlast us all, Adi Goodrich’s work lives for only a few days before being broken back down into pieces. “I’m not really into all that ego of trying make stuff that stays forever,” the Los Angeles-based designer admits. “I’m much more interested in the cycle of creativity, in making things happen, and surrounding myself with everyone who wants to come with.” Which means that Goodrich, who was just honored with an Art Directors Club “Young Guns” award, might have willed herself into a perfect job: set design.
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Phillip Estlund’s Decoupaged Vintage Eames Shell Chairs

Phillip Estlund is a Greek-born, Florida- and NYC-based sculpture and collage artist who hit upon the idea for his series of hand-decoupaged vintage Eames chairs quite by accident: "I often work with imagery from field guides and books containing detailed images from nature," he explains. "As I was organizing cut-out images of flowers, I laid them out on several surfaces, including on the seat of my Herman Miller, Eames molded-fiberglass chair. The otherwise stark surface became immediately activated in a way that I hadn’t considered, and after arranging and adhering the flowers to the seat, the result was the Bloom Chair.”
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Week of November 11, 2013

A weekly Saturday recap to share with you our favorite links, discoveries, events, and more from the past seven or so days. This week: A website all about watermelons, a $28,000 Memphis cupboard, an exhibition of non-traditional collages (including the drawer-pull piece by Jeffrey Tranchell above), and more.
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David Altmejd, from Studio Life by Sarah Trigg

Sarah Trigg spent more than two years photographing the ateliers of 100 artists around the country for her new book Studio Life: Rituals, Collections, Tools, and Observations on the Artistic Process — including boldfaced names like Carol Bove, Rob Pruitt, Theaster Gates, Tauba Auerbach, and Nick Cave. And yet you won't see any of their actual artwork in its pages (we've added our own to the David Altmejd excerpt below), nor will you see any overall depictions of their spaces. That's because Trigg, an artist herself, took inspiration from the most important elements of her own Brooklyn studio and decided to exclusively zoom in on any residue, mascots, collected objects, rituals, makeshift tools, and architectural details she found during her visits. "I placed a lens on daily studio life without expecting artists to defend or explain their work," she writes of her process. "It was crucial, therefore, not to overshadow the results with portraits, artwork, or depictions of the overall grandeur of the studios — all of which have established venues for exposure elsewhere."
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Knauf & Brown, furniture designers

Formafantasma, Ladies & Gentlemen, Rich Brilliant Willing: The list of design partnerships that began in art school is pretty endless. But rare is the pair who knew and liked each other enough to not only register at the same university at the same time but also to enroll in all of the same classes, “to keep each other on our toes.” That’s Calen Knauf and Conrad Brown of the emerging Vancouver-based design studio Knauf & Brown talking; the two met through skateboarding more than a decade ago. Brown was a photographer and Knauf a graphic designer, and once they graduated from their industrial design program at Emily Carr, the natural thing to do was to go into business together. “It’s a good partnership,” they say, “because we both have different strengths, but fairly similar aesthetics.” What exactly defines that aesthetic is still a bit up in the air, considering that the two graduated only last year. But what’s emerged so far has shown an emphasis on simple and honest natural materials, like ash and marble, as well as a healthy sense of humor that occasionally surfaces in the form of performance art. For “despite how much of our lives we dedicate to design and our studio, we still place a high priority on having as much fun as possible,” they say. “We both still skateboard, and regularly get up to no good.” Read on for a deeper look into their brand-new practice.
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Hammer Museum’s Arts ReSTORE

For all of the handwringing about art being inaccessible, there’s no city planning theory that has gained more traction in this century than the idea of creative people driving neighborhood revitalization. Which means that the descriptively titled “Arts ReSTORE: LA” project isn’t just loftily ambitious. The month-long residency program, which began last week, might actually work at creating a less sterile West Los Angeles, not least because it is supported by the powerhouse Hammer Museum, whose three-story compound anchors one end of the street. On a stretch of Westwood Ave., better known for chain sandwich shops and fluorescent interiors, the Hammer offered a half-dozen empty storefronts to local artists and makers, with the idea that even a temporary infusion would upend the retail mood of the area. If the packed opening night was any indication, this time the theory holds. Here’s what we saw.
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